How to Compose Cinematic Action Music

1. Your Adventure in Cinematic Action Music: lo composers Mike here and you are about to go on in you learning adventure. Your end goal and destination for this journey is to unlock the secrets of music in the style I call cinematic action music. You will learn my best guidelines, tips and tricks, the sounds and elements, the playing styles and techniques. And, most importantly, you will get lots of live examples and demonstrations, including practical tips and tricks that you can use for your cinematic action music compositions. My name is Mike, and I am a composer, just like you. I have composed and produced music since 1998 and I teach my nose and experience because I love to educate, motivate and inspire creative people like yourself. Now take action, level up your composer powers and discover the secrets off a pick cinematic music in the style off action and energy. Let's begin your adventure right now. 2. Introduction - Cinematic Action Music Composition: let's stored by defining what cinematic action music is. There are, of course, no strict rules or definitions for any music style. But here is my own definition off this style and character off music. I hope this will give you a practical perspective and overview off these style music, at least. Cinematic action music is mainly focused on a high temple, driving rhythms and intense energy. This style is very good for fast action sequences, battles, chases, fights, etcetera. The main focus in the sound palette is often percussion, of course, driving Austin autos, houses or pidio owes and staccato rhythms, as well as lots off more Cotto's and stabs to elevate the main accents. Now let's listen to three different live examples off a cinematic action music that I have created for these cores and that I will show you behind the scenes and breakdown later in this course vibe. Example. One engines off fire live example to stronger than steel vibe . Example. Three. Dork action thriller. - Amazing . So this is the style, mood and character or music you will learn how to compose. But on Lee, if you really make sure to learn with dedication and purpose, because it will always be up to you to take action on every element and concept you learn. Your goal is to analyze, practice, implement and finally master this Donald Music. Let's continue your journey right now. 3. Assignment - Ear Training: I am a huge believer in learning by doing meaning that I strongly recommend you to take action throughout your learning journey and adventure. That is why I have prepared some practical assignments for you. Ear training for cinematic action music. Here is your assignment. You should listen to lots and I mean votes off cinematic music compositions. In this style, your goal is to develop a keen ear and good instinct for this particular mood and style of music. Simply open up your favorite streaming platform for music and start listening to composers and music in the style of cinematic action music. I will no share some practical examples off music compositions to get you started, but feel free to dive deeper in this show, Aunger and Style to find music that you get inspired by and want to learn from. 4. 1 - Tempo for Energy: Temple for Energy, Temple BPM or what I simply call the pals. Off music is one of the most fundamental aspects off action and energy. Higher temple, or at least sense of tempo, is what action is all about. You can think of this as the pals of your heartbeat. For example, when you move fast or excited and full of energy, your heart rate will be higher. And when you sit down and all relaxed, your heart rate will be lower. Now it is the same for energy in music. A higher average BPM of your music will naturally lead to Mawr energy, which is the essence off action music. But the other side of these aspect is how your music is performed. For example, if you play a fast 16th North pattern, the music will sound energetic. Even if the temple is only average and a slow fourth note rhythm will not sound that intense, even if the BPM is high. However, as a guideline for cinematic action music, I like to choose a starting temple that is fast to begin with. I would say that anything above 140 bpm or so is a good starting point. At least I also have a bonus tip for you, which is to tap in the tempo on a Metrodome or directly in your DW if you can, because this can be a great way to get a starting temple for your track, as we have a very good feeling for temple and energy within us. All right, let's have a look at this in action shall way. So I have loaded up my temperature and my sketch track, which I included as short staccato strings, piano and some pads, strings layered. With chance like this, you can hear if I played them faster. That's what I'm going to use to demonstrate this. Now. I'm going to record something at the Default Temple at 1 20 so you can really hear that this kind of average tempo doesn't really have that fast action drive. It could still work. If you want a slower action type, big boast battle type cinematic extra music. But let's just time in and see what we can get. Let's do it in okay, something like that in if eso not super tightly played, but it's decent. I can always quant ties this to 16th nerves I must do. Let's see if it can take. Seems to be good at 100% yesterday, so you can hear the actual timing. Listen to it with the metal now eso That's just something I played. And you can, for example, add some drama students. Let's add some big bad drums on top of it too at some action vibe, See, where are away? This isn't This isn't tickle records here. Okay, so something like this. So that's the record. Some drums to this. Now, just to add the action vibe, write something like that and you can add whatever some epic kids here. Okay, Something like that. Let's qualifies Those I'm not sure it will quote eyes perfectly. It looks OK. So listen with the Metrodome, get here. Not really super fast action type. If I now it increased the bpm to, let's say 1 60 and, um, try it out. Now let's listen to the difference. Like so. Ah, I wouldn't use the piano in this case. Yes, I'm only going to do use the fast rings. It will be more apparent. You can have some base today. Some other staccato rhythms, Austin notice and so on. But But the main point I want to show you here is the temple is energy. So when you increase the tempo, the BPM, you automatically get much higher energy levels. 1 2160 Right Now let me show you a practical demonstration with a real short composition example. Off temple is energy. So let's take a look at my composition that I created to demonstrate Temple for energy in action, I have percussion mix, a rhythmic mix with those no two strings, um, low pad baseline here and for the harmony, which is basically harmonic and melodic content. I have some strings and breasts and quite women choir here. So let's take a listen first and then I will demonstrate what I have included here, right? So that is the composition. And as you could hear, it's very high Temple. It's 170 bpm, but the main action always comes from the percussion and rhythmic par. So if we take a listen first to the percussion you see, I have the main accents here. Um, let's say here, which is on these big drums. Well, they really like so and then I have layered it with some epic Tom's, Um, and if we check here in the the piano roll, you can see that these or these are the main accents problem, the big drums. And then I have basically fill it up a little more. So it sounds like this, and it can hear and see here that the velocity is a bit lower on those. And of course, those that are layered. The main accidents will be much louder. And then I have these Tyco's here, which are a bit higher in pitch, a very ethnic sounding from stick. It's as well, and those actually add probably the most driving energy here. And of course I need some accents. I used to classic Cymbal crashes like so All right, so that is the P percussion. Here, let's move out and go into the rhythmic section. So I often record one main rhythmic drive, which could be comping Austin orders and or whatever. I used this one here, The main strings. Ah, which sounds like this I see here, Right, So that, as you can hear it has these, like pedal note almost. Basically, this is very similar to shagging metal guitar shagging with an open, low string but on ostinato strings. And then I have used that low. What is it here? Um, Lobi, Um, or the b note and trust posted down to this based rings here. So if you check here, these are actually on the same beats as this main string line, but only the bass notes. So if I have that on the so it sounds like whips groups like this and layered, it sounds like this. Okay, I hear now that I can probably, um, increase the the lawsuit on base with a modulation. Right. So I made a change right there. But that is ah, reading section. So it sounds on his own like this, and so one as you can hear very pumping and the driving in the field. And that adds, of course, to the percussion. In fact, if you want to go for really action vibe, um, the rhythmic parts and the percussion part is basically all you need. However, if you've autumn or thematic approach, we can continue. We have the base here Well, basis or both. Almost always needed as well for that low end. So I only had to have a low pad here, which sounds like this lucky pedal note increasing in dynamics. But it's only on to be here. Lobi. Right? So that goes straight through. So no real action by but more powerful life. And then if we check the hormone e group here, where have string section breasts and there choir? Let's check what's going on in here so lots of modulation. And as you can see, it's always increasing here, which is another thing of writing. Intensity has increased the dynamics over time. Andi, here I actually have cords. Onda spread out the notes distribution to get a fuller sound. And all in all, you get also at I was also have some chromatic steps issue conceived especially in the breast here, um, to add some more attention. So if we listen to the Harmony group on its own, it sounds like this like so when you really heard that tension from the chromatic notes meaning basically semi note intervals. So oh, you know that creates the the really action vibe, but what makes it really energetic? It's the temple and when you use faster notes in it, So if I want Teoh make it is even more action character. I could add some. For example, Stick. It's on 16th knows like you had 16th notes and have 117 BBM. I promise you, you will get really, really high energy so again, or, you know we have this. And again if you want to commute all the harmonic parts to remove the thematic approach, which makes it super focused, Or you could if you bond, for example, just to reduce the volume hair or the dynamics, I'll just show you. If I reduce this, say, six DB or so. Then the focus becomes the rhythmic Keyport precaution rhythm on the all the melodic harmonic parts arm or in the background, like backing up on the theme here. All right, so that is it for Temple for energy. 5. 2 - Rhythm for Action: rhythm for action. The more you focus on rhythm in your overall composition, the more action feel you will get. In fact, you might even consider reducing the melodic elements and harmonic storyline in favour. Off more rhythmic focus. These rhythms can be anything from Austin auto strings to synth palaces to or pay Dios to percussive grooves, background clicks, sticks and tick talks and, of course, your full drum and percussion mix. In fact, when it comes to rhythm for cinematic action music, percussion is king. It can be anything from a classic drunk it to Elektronik drums to cinematic percussion or world and ethnic percussion. Make sure percussion plays a major role in your composition when you write action music. So to sum up, when you compose cinematic action music, please rhythm as your highest priority. That is where you will get the energy and action to drive your music forward. It doesn't have to be big and bombastic rhythms. Something as simple and light as a fast ticking cook can still make the audience sit on the edge off the receipt. It all depends on the mood and character you want your music to have now let me demonstrate what I mean by rhythm for action in action. So if I take my sketch track here, which is piano and sustained strings and play a chord progression like this if minor um, it sounds beautiful, right? However, it's not very much action vibe in there, So what you need is to focus on with on ports and instruments, playing rhythmically for cinematic, actually music. So if I take the same corporation and right here own my staccato strings patches, and then perhaps I just play hormone is that, like in Austin auto instead, off full court, I can play like that and then accent with the base here. So something like this, Perhaps then you instantly have something with action because off the focus on the rhythm you can, for example, it elevated the accents as well as I did with the base here. So if you increase the dynamics meaning the velocity, how loud you play, those knows you can hear like this. You hear that the accents are louder than the surrounding notes, which also adds to the action vibe in the rhythm. And of course, when you have this, you can if you try to recall something like this, for example, something like that. Let's see. So let's try to fix the agreed here. And I think that's pretty tight. Let's say, Can't want us. It's somewhat. I think like so right. Sounds pretty good. Then layer that with the other string patch here, and I can go in. Um, let's take a look at the screen now. So what I do here is I go in and then I that's layer that with mimic track. And then you can, for example, increase the main accents. Um, in fact, let's do it the entire base section here and let's see what that sounds like. Now, when you add a percussion mixed to that, I would recommend that you mimic most of those, if not all the main accents with the deepest lowest drums, the main accents on the drums. So if I load up, for example, the big drums here, I could play it in if I wanted to, which I most often do. But in this case, I'm actually going to copy the track right over here and then just these notes and move these notes. Select old, and then I have a command for, actually ah, using the fixed note, making them all the same health. And then I'm going to see where it's there. So now I have this rhythm place exactly what the base accents place here on the strings way . And you can, of course, spice it up here on the on the ah percussion by adding some other notes. It's no totally a cologne off the main accidents on the strings. So, for example, I want you have that there. But I would recommend, um, reducing the velocity on those so you can add, for example, like this. Let's make like a role there. Let's see how this all of you here in this template sounds better. So that's that. It rolled into that as well. And on the final. As you can see, these are lower velocity, because that's what I won't Let's take it on that. So what? Justice? Only Bossom already. And that's only from one main drum. And of course, you can add other low Tom's, Tyco's whatever. Let's say you have this rhythm here again. If you want to write really fast and not recall everything, I recommend that you at least use the you can Kobe the port from another main accents port , and then you can use that to as the starting point. So let's say you want this, but you only want these from to feel up, so you basically can go in and delete some of those in here. And so one, um, move them around so I will have these higher, like different Soames. You can do it like this. Move around that over there that'll be there and then go through each one like this. I can see now at least we get some difference in the beat. And then you might want to spice up this even Mawr. Or, as I said, you can reduced some more than also. Let's not use those. Let's move that over there. Move that over there. Makes make some difference. And so it's not totally mimic. Teoh beat here on DA Let's make that a complete role on the final here. Let's listen to how it sounds like now, So that is my life demonstration or what I mean by rhythm for action, as you can hear, compared to you long sustained notes and chords. So if you want to add even Mawr rhythmic action vibe Continue on the rhythmic path I have started right here. And of course, you can use the first guideline you already learned, which is that temple is energy. So this was recorded at 1 40 bpm, simply increasing that You wanna 60 for example, We have this. That is what I call action. So this is the short composition I made to demonstrate freedom for action Where I have this blue percussion mix. These are all the driving Ah, strings and a palace from atmosphere and then some base to fill it up. But no really melodies or harmonies well else account the harmonic progression in the Austin autos. But the focus here is mostly on rhythm, and that means actions. So let's take a listen first. All right, super super high action feel. And if we go back to the previous example and take a listen to it Ah, just quickly here Two things I want you to notice here first is that the second composition is actually made based off the 1st 1 So the rhythms here on the main percussion or actual the same the blood of the harmonic progression is the same, but I didn't use all of these harmonic and melodic tracks for the second example. Instead, I went all in on freedom. As you can see, I created even more driving rhythms here on the strings, high strings of swells and pity cattles and add the this illness fear, fast pulse. And even though these second example is only 150 bpm compared to the 1st 1 which is 1 70 if you listen quickly, it's not only about the BPM, it's how you play. So this is faster rhythm. So listen now this feels more action. Even though it's 20 BP and lower, it's still pretty high. 1 50 I consider the high BPM, so let's take a listen to what we have here. So first the percussion makes. And if we go into to the piano, it looks like this. What soon means you can see everything, and here we have the full percussion makes. You can see the main accents at the bottom, played by these big drums on the epic it mimicking that you can see also that owned on the main accents. These are the symbols up here on the main wait, I think Think What is that doing there? Ah, so, yeah. So this is a pre crash small crash, and then the main crash here. So basically, if, um, take a listen to whom the percussion and you will both see here and here that the main accents or layered so much that they stick out in the mix. So, listen, this is something I would really need you to pay attention to because what will really drive your rhythms, your grooves and air? That action feel is a main beat that is focused, the main accent and the sick into reaction. So I would say this one is a second reactions, for example, And then you simply make sure that you owner that main groove, the main beat inside the rhythm on the other rhythmic instruments. So if you continue with the rhythm section, let's see here. So he and we have zoom in. Um, there's a low based ring. Let's see if we can say this is basically a long note. This is a powers rhythm, enormous fear. Just playing on the be here. So ah, efficacy again. Here we have the accents. You can probably even increased those velocity if you wanted to. But if you take all this into this, you hear the same fundamental rhythm inside the complexity awful. These knows, which is that Don't, uh, so And that you heard from the percussion, so And if he continued to to the base, Um, I believe I mainly focused on the Let's see if we get into here and take a look So it's over. The one note all throughout on the be here, Let's take a listen. All right, so it's ah more notes than the main beat, which was basically the brace. Oops. So you can, of course, add more notes to make it more driving. But you should think about at least including the main accents in most of the other instruments, because when you if you create completed different rhythms, those will clash and you will lose the focused action vibe so that it is that is it for the rhythm for action. As you can hear, it's all about how you play. We can basically take a listen to the onus fear. Ah, OK, so I've frozen this, but basically it's just a fast high. Your rhythm like this the futuristic synth line there to add to the action feel. And it, of course, it depends on what kind of track you're working off. Or if you working on a three letter action movie, this could work very well for a action sequence. Or you could go with a full orchestral vibe if you want to add some Austin Morris highest in autos or click pulses, sticks, shakers, whatever to air that high, shimmering drive to the rhythm. All right, so that is it for the ridden for action guideline. It's not only about the BPM, it's about how you play your rhythms and notes. So if you play faster rhythms and if you keep it focused and ah, accent the main accents throughout the main beat in the group off your rhythm among all your reports and tracks in your composition that will elevate the action vibe of your music 6. 3 - Groove for Intensity: groove for intensity. So what do I mean by Groove? I am actually talking about the complete sense of rhythm and timing of your music, because you can use groove to shape the sense of energy and action. Add anticipation at intensity and so one. Let's find out how time signature the time signature is basically the underlying groove that sets the language of rhythm in your composition. You can absolutely right action music in four for common time, but in my experience it is much easier to create intensity using other times signatures that feel more intense on their own, such as 6/8 or 7/8 for example, especially time signatures that feels like the Skip or Addy beat can sound very interns. Syncopation. Syncopation is a wonderful way to spice up the rhythm in your music. Syncopation means a rhythm that is different from the fundamental flow off your rhythm in your composition. It can be accents on unexpected beats, a sudden triplet note rhythm or any kind of rhythm that feels different from the main group . Rhythmic variation. Adding variation in your rhythms as well as unexpected changes and rhythmic twists, is a great way to ADM. Or Action and Intensity vibe. This means that you can change up the rhythms often to never let listener become too comfortable with the groove, adding fills and small details into your rhythms. It's another way to spice up the action vibe off your music. So now I'm going to demonstrate groove for intensity. And this is actually one of the hardest guidelines because we generally have a rhythmic instinct off four for which is why it is called common time. So 1234123 per 1234 If I play that on, for example, staccato strings you will hear increases people. So as soon as you break that with another time signature you actually create, more surprising grew for the listeners. 34 is quite common. 12312 300. Ah, but if you, for example, used 5/4 5 quarter notes. So you get this. This is hard to play. 1234512345 way Have wow! 12345 months! You add that extra beat, which creates somewhat over intense divide because of it dragging for the boar or you can do the opposite, which is rushing it. So you have, for example, seven eights, which is quite a common action. Music 68 as well. But let's use 78 Also another difficult times in church recorded. So 1234567123 profile. So you're expecting the eight, but you don't get it because we started a new bar. So, um, see 123 Push top 61234567 I am not even sure if I play that correctly. It's actually super tricky. I haven't mastered the more difficult time signature when it's come to the performance. But of course you can write it in into your D A W So that's Ah, basically about the time, seems reports you basically create the grew from that. Another thing is, um, if we take the previous example that we had here from the really means action guideline, well, if you add Syncopation and by the way, Syncopations is basically adding accents where they are not expected. Ah, we're adding, for example, feels like triplets and such that creates very much more. As soon as you make the really more chaotic. You basically add intensity. And that is what I feel. The groove is about. Groove is all about is adding a characteristic rhythmic pattern that is not like it straight. 1234123 Po 123 Po That kind of vibe. So, for example, if we go into the DW again and with Just Shake, let's see let's let's solo the big room here. Let's loop that and let's check. So here we have as you can see you. The main accent is he has one on the one if you just have it on the ones, is not that right. So But if we have this accent Ah, since it's fools here in between the quarter notes, as you can see here, that s actually kind of Syncopation. Onda. You can do it, for example, if you add this accent too. So what do we have them? Let's see Right. And remove that. So you have the accents where you're not really expecting them or you can make it ah, into triplets. So if we go into another grid too, be able to add frequent notes here, let's use triplets Let's use them here. Let's see. Why can't I move it like so? And that over there, what we have here now that it's triplets, but I want to have it like so So we have trippers go into it looks, but let's get back. As you can see, these are now out of greed from the A straight 16th grade because they are triplet notes, so that so listen to that. Did you hear that down 10 10 data You get that rhythmic twist again and triplets or very much used in cinematic music. You're some foursome broken metal, but not really that much in popular music. So people most listeners are will feel that. Is this the price in the beat, especially if you have the main groove assess straight beat that is Syncopation. And then, finally, you can also added that what groove is really about is the timing off the notes. So if you have these perfectly quant ties, then you get this straight. Let's say just so low that go in here again, right? So then you get that. But you can also rush it be play played just before the beat. Let's then we need to have the Metrodome here. So this is now playing slightly before the beat, which means rushing that also create. Rushing really creates a intensive VAY because you're playing slightly before the greed all the time, which is very common for, for example, bass lines and such, and that you can use or you can drag, which is the other opposite way. So they placed, like the lagging behind listen to with the Metropole. So I usually, if you want to create that intensive feeling chaotic, prefer to rush the beat because it really adds that you really born to increase the temple basically, and this is also common in popular music, which I I'm not shown here. But if you actually create that's temple variations. So let's say your most of your track is in 1 40 Just let's say that well, another form of group is to alter the curve off the temple, the temple map off your composition. So, for example, if you listen to orchestral music or bands, they often play the coolest, slightly higher temple. Then perhaps a break down, which is a bit slower and then also really slow down at the ending off the track. So that is the final part off the groove for intensity lesson here. I will also now show this as a real example that I have composed. You can see what I've done composing in 54 3/4 I believe. All right, so here we are with the composition example for groove, for intensity and I was wrong. It was in 7th 8th But that is also an excellent time signature. To add that action type in the groove because you will get this 123456 and 12345 That lost final Ah, no, that you expect is not there because you rushed into the next bar. So let's take a listen to the full composition here first, and then we will dissect it. So that was the composition. And if you take a look at what we have here so I think this time I'm going to start be the rhythm section. So we have, for example, let's do Let's do these these violas first because those are on every etc on ah repeat here . So we have seven eight notes beats before so 1234567 And then here. And you can also see that the main accent is always here on the bomb. I could probably increase these a bit, but if you take a listen to what you will hear that 78 vibe I realized that this is We're also Pitesti Cattle Springs, because if you won't that super action type vibe, generally shorter notes or better. So, for example, for Austin, out of strings you can use speak cattle instead of staccato and or Marco toe. And, of course, pizzicato is even shorter. So I used that on the high, um, four seater with valueless on. If you check the rest of the springs, let's go through here. We have the shallows and again, no, here we have them. It's not on every beat here because I want some kind of a groove. It's well, but he really here. When you get to this note and it goes straight to the next one and to the for one in the next board, it's like you like twitch when that happens, because it's you don't expect that it feels the groove feels rushed because of the 78th times in nature and then for the base. I only have here, here and here and then the next one and so one. And then I had a full string ostinato section C which sounds like this on. As you can see, the base knows here and then the high knows all als seven, I think 1234567 And all together that means the rhythm will sound like this. Oh, by the way, I also have a pulse in the key escape and which just sounds like this because any time you really want Teoh ADM or drive some kind off rhythmic powers with some delay can were great . So to talk in total, the rhythm section, Let's watch the malls. You can see them here in the piano role as well. Looks like this and you can see the accents here. Generally, you want the accents in most cases to be on the one in each bore. But you don't have to, and you can see here I have an accent on this beach, for example. I want to show you something in the end, when you come to a end in a section of part of your music when you're going to change up, for example, and you called Whatever and you going from verse to chorus, it's usually good thing t do some changes in them the harmonic progression and or the rhythm progression. As you can see here you have some. It goes down, up, down, up you see, like this kind of pattern. And then for the final two bars, it goes to single. No tears completed changes, so that serves as like and showing the listener that something is going to happen next, in this case is going to Cajuns ending this music. But let's listen from here again. There you could have a change instead to new section if you wanted to. In your music. Let's go to the drum section next, and if you check again the main drum here, which I think is mimicking the base that it's usually a good thing. Teoh mimic most off the rhythmic groove in similar sections, especially in the low one, so the main accents or the low drums are also for the those strings here. So if I check those, we'll see that they are me making each other, so let's listen to it. So those are exactly ah, on the same beats on this could be a great starting point. And then you can add some Syncopation or spice up the written groove with other ports or make some few changes of one of these. But in most cases, again, respect the main groove, the main accents as especially in the low. And so if you listen to the drums and when I add these epic tomes on top again, you can see those over mimicking the main accents, plus some extra notes. So take a listen to debt. Let's do it with the basis well, so and one tip I can give you is when you're coming up with a groove, especially for a faster beat with old time signature try to start. I found its most. In most cases, it's easy to start with a low and Maine accents first. So, for example, you might want to record something with the big drums only first. So this because that will get you into the groove much easier than just listening to the Metrodome, which is taking on in 7/8 like 12345671234567 It's very hard to record, too, or you might want to do it on the base drinks only, for example. But just laying down because it's simpler is less notes you can hear, and then you continue by stacking up with more. So these or in the low to low minutes the low tones here, which are stacking to the big drums and then they can continue to stack. And you can often do more variation in the rhythm and Syncopation and feels and stuff as you go higher up in frequency. So, um, from the tomes just scenarios today whatever you want to use. So I have some titles here, so if you check that in the grid now, we have think that you're here and now you have more. Again. I respect the main rhythm in that many of these accents all the same. But as you can see here, I have it just before, Um, so it's more syncopated in the titles here which you can really hear when I play this now and there. You heard the main accents where everything came together on here as well. So and Then I continued, um, if you want to add really high intensive energy in your rhythms Ah, a cinematic action music. I recommend you sting higher frequency sounds and instruments with the faster beat in most cases. So I have some stick. It's here, for example. See, I could probably make them those even faster, but, um, it adds to the to the energy. And then I have a ride Cymbal here because they were always here kind of sports. But I think the it's this mimicking, it's almost mimicking the main beat. This these are the rights here. These is This is all the deep drums on what the deep promises. Well, so So So you can hear some single patient in there, which is again Syncopation is especially good in the higher frequency instruments which can be off percussion. Or they can be higher like violins, violas, melodic instruments. So that is the percussion section. We already listen to the rhythm section again. If I check those together, for example. Ah, just the main Austin alter here with these two main dramas. Look in the piano roll here. We can see Maine accent here, Another one here. So you see the Vogue arrangements dictates the main groove and then the other ones respect that grew, but also add their own twists and feels and secret patient. To spice it up on that makes a huge difference. So most often you can take your main be drums, which, for example, if you think, think pop music, it's the kick drum and the snare or kick drum and the collapse. So in cinematic music is often a big drums, like grand castles or deep Taiko drums or whatever big drums and perhaps some low epic Tom's, as in this case. So when you have those and just add one main ostinato line like this, that should basically be the foundation off the rhythmic groove. So again, check these only this. So I would recommend that you choose some tracks. A couple, all the capital tracks, that or them the foundation of your rude me group, because that will create a more focused cinematic action type of vibe. And then you stack all other layers to to add even more high energy, like faster patterns on higher instruments and so on. Um, and then I had, like, again this pals policies are great and a sub base, which I believe plays. Let's say if it plays on the yeah, it's on the long notes. I actually didn't use any. Breathe them in the baseline. It's just is that as these long notes off the route notes of the chord progression, So that is it for the grew for intensity. I hope you got some tips and tricks from this. An inspiration to try this out for yourself on I will see you in the next video. 7. 4 - Contrast for Power: contrast for Power bi controls. I am mainly talking about dynamic range, meaning the difference in loudness and intensity between sounds, instruments and even sections in your music. But if you think outside of the box, you can actually add contrast in many different ways to your music. Use the dynamic range. Action needs power in the form off high contrasts used a dynamic range to your advantage and also use the controls between sounds such as a light, shimmery percussion. Two big bold drums to add really high contrast. Augment your accents. Horn accents is very powerful when it comes to action. Music you can augment, meaning boost these accents by layering sounds and also layering between different ports, such as your big bass drum layered with breast stubbs and hard hits on snares at the same time. And even using trash symbols and power notes, meaning bold, heavy sounds with long sustained etcetera to really hit the major accents even more, the power over silence, something that many composers don't take advantage of to its full potential is the power of silence, which can mean anything from soft breakdown sections to actual stops and pauses in the music before a new section hits. This will add even more contrast and power when the music comes back at full force, perfect for action music. So now I will do a live demonstration off contrast for power. So the main aspect of controls is dynamics, meaning the intensity and loudness difference between Ah, certain notes and parts in your music. So, for example, if I have these big drums and replicates played on those at the same time, if I have playing softly or if I play them hard, that's the difference in dynamics, the loudness level so you can play a beat and then accent. Your accent's really much compared to the rest of the knows something like this. And if you do that, for example, with Austin all the strings, it can sound like this. That's the a second here, a drastic difference between this softer notes and the louder note. So that is the contrast with dynamics. Ah, another thing is you can actually have controls between sounds. So if you play lighter sounds and then bigger and more intense sounds for the accents, that will create lots of contrast to So if we have, for example, If we have, for example, this. And if I play something like likes tickets, let's see. I need to do like that. Those are light or, for example, some scenarios here. Ah, and then you controls those with the louder, bigger drums. So, for example, as you can hear, that creates votes off controls as well. And then you can have controls meaning by using silence in your music. For example, if you play something, let's say if you play something, I think so all the time. That is basically yes, it's action, but you don't really get the Contras because it's that at the marathon tunnel the time if you add silence like this and see if we can. So if it play, that is adding controls by adding silence and air in between the nose. And it's actually one of the most powerful aspects of contrast in music, using the difference between sound and silence to create the pattern over time. Now we're starting to the D. W, and I will show you a real composition where I have really X entered the contrast to give the fact more power. So this is my composition for the guideline come first for power. And again, it's all about really focused accents, making them super loud, adding lower velocities in between them or even using the power of silence. So let's take a listen first, and then I will dissected for you. As you can hear, it sounds really powerful when you get these high controls in between the main accents and beats and the freedom in the groove here. So it's kind of sports arrangement. Weiss. Um, what I have here is that's the missing something you know, we have the main percussion on. It's basically all focused on these Maine accents. Let's check these two. So you have the main accents and then a couple of more notes here to add some groove to it . If we check only the big drums, which are usually the main accents, right? And then I add these epic terms on top of it. So you get witnessing the piano role both at the same time. This has come here. They are much lower wearing Ah, loudest and dynamics. So you, but really cuts through or those Maine accents then you can, of course, always spice up with some Syncopation in the need to high range, which I used tigers for here again. Um, let's say, where are we here? No. Then I also added a snare on top, which I believe is mimicking the applicator. If you layer them on top, you can see they are layered other note values, but the same and agreed. Yes, it for that. Basically, layering is huge when you want to increase the controls and power in your cinematic action music. And then I, of course, had symbols because it's hard to to do really Maine accents without Cymbal crashes. There are, of course, other types of sounds you can use for a real powerful accents, like stabs, big stabs on browser strings. Um, probably Brams and epic impacts and stuff like that. But this is what I have for the symbols and as you can hear the sound not that loud, because generally you just want you symbols to add an extra simmer on the accents. Too loud symbols is often too piercing in the mix, but if you listen to it in context, they really add a lot. And if we now get to the rhythm section here, we have the bass strings Let's take a look at those I believe I've used more co two articulations for this. Let's have a listen. Only the bass strings for now. So more kowtow and staccato. Zamora Kota is in an accent and know that it can be played for a longer duration somewhat longer duration. And then I had this short stuck out there in between. And if you go back and take a listen to it with the big drums, you will see the big grounds and the epic terms. In fact, you will see. Let's take a look at those here and here, mimicking those terms there. Those there which little sound like this. So you get some Syncopation because you have these excess here on the big dramas here, Um, or there. So that means to get some variation. But still, the main groove is very, very audible. And then let's see if I check the chill owes here with the epic tomes I believe we are. Let's see. Okay, so this is basically 1/4 note beat with the next door syncopated note here on there. Let's take a listen to it so well and you can actually see that is mimicking the bass note there and there. So, um, you get more focused and more contrast if you mimic lots off the beats in every rhythmic and part in your mix, and then let the silence contrast it in between the notes instead of having lots of different rhythms going on. So now and it's the same. If we check down here in the sub base, it's actually mimicking completely the more culture of the bass strings. So if you check the sub base going to the funeral you see here, so this is a great thing to lay your instead of doing different things. So if I lay that with a short based or the bass strings exactly the same same rhythm in the same notes Ah, probably an octave below because oh, it's the same. Sometimes you can go knocked in the low world with this sub base. So, uh, in context, you actually get any kind of listen to the final piece again because if we go into the piano role here not meeting that, you can see that I'm using the same technique off, changing it up for the final bars before a new section coming, seen or in this case, the cadences, the ending. So check out the all the notes What's going on at the same time as we listen? Vacuum recon. See, Definitely the main accents point by the Mark Otto as bass strings and so one here and then some seeking pace in Syncopation in between, of course, ending with powerful, more kowtow based string there and the crash Cymbals So again, this is how you get lots of power. Add contrast with your accents with silence with layering to get these super powerful sound in your cinematic action music. 8. 5 - Minimalism for Focus: minimalism for Focus. What do I mean by minimalism? I am mainly referring to the harmonic structure and the melodies use, making those aspects of your music more minimal to make sure the primary focus is on the rhythms. The rhythms, on the other hand, can be four from minimal. In fact, the rhythms can be truly complex and even chaotic in cinematic action music vid um versus harmony. In essence, you generally want to dial down the focus on courts and melodies by making them more simple . By simple, I mean rest courts in your progressions and less notes in your melodies. Also, you can reduce the harmonic and melodic elements in level in favour off every village nick Element in your music. Another way to boost the focus on rhythm is to record cords, harmonies and melodies that all rhythmic on their own, such as staccato rhythm, more cultural accents, stabs, etcetera on the course and harmonies and even melodies. Total rhythm. You can even have ports and sections of your action music that is basically all rhythms such as Austin autos, palaces, quicks, ticks, percussion, etcetera, basically Onley, using elements that ADV I've and intensity in your music that will create that action and energy vibe. So now let me demonstrate what I mean by minimalist in for focus in action here. So we have this example already right on so one. And what you could do is, for example, we have these strings here which actually place a chord progression down. You could, for example, take that and Onley make like it's this Austin order on the root note to remove the top notes. Here, in fact, was, Check it out here in the piano rolls. You can see what I do. Zoom in and let's say we can remove these notes so we just have the bass notes that in on its own, we still have a cold progression. But only while it's not a cold progression by the progression with the base. Now we have already it's more minimal and sparse because I remove those melody. Costin Alter knows you can go even further. For example, if we take this, let's check what's the root note? We're in F so leads remove all of these top notes. Or in fact, let's let's take all of these notes and then we make them into, um if to bright. Then we take all of these knows, and you can use do this manually. I have a special command for it. So we take those notes and make those is, too, if threes. And now we have everything on if it's the same rhythm. But I made it even more minimal by reducing the melodic and harmonic complexity to one key . So the same rhythm. Same Austin alterna on one key T f. And if you go on to take it all the way, you can go all in on rhythm with meaning. No harmonic progression, basically at all, Um, which this is basically no harmonic progression because we are on one key. But let's say you take this, Andi, you. Let's say we convert this, for example, to base, for example. So we have that as a base? No, just to add some low into this. Let's see. Did I get it on the right spot there? And then we joined these notes. We have the various eras you can see. Let's put it on the low pad as well. I'm not sure what this will sound like, so let's open up those tracks here and listen and then we will remove these strings to now we have the same percussive rhythm, but we just added these base notes was sent to Okay, so that's all right, I think. Let's remove that swell. So just have the low bass note here and now we have these bass notes, we the percussive rhythm. We can have that as a drone pad, whatever. And you can go all in on Onley percussion because that's basically the most minimal you can have the harmonic and melodic progression. No harmonies and melodies, just percussion. And this way you can also spice up to the percussion with Mawr like Tyco's here, for example, if we load them and had some high year Brigham's, we'll see because you you can you don't have to be minimal in the percussion. So So let's see if I can recall this life like so and see if I move it down something like that. Let's see what happens. Okay, so I need to corn does this Ah, get it fairly good at least, and then we can reduce it. Involved him like so. All right, so that was not a particularly good performance on the Tigers. But you get the main point, which is minimalism for focuses, basically reducing the harmonic and melodic content in favor for rhythm. And that goes, for example, instead of having long notes, you basically used Austin autos and pulses and rid me parts compared Teoh, Melo, Dick leading and the lead melodies or they gotta notes and so on. So the more minimal you go, the more focused the beat will become, so you can actually go in and remove some of these notes to make it even more sparse if you if you want to. So that's up to you. Now let me show you a practical example where I created and composed too short, very, very minimal but super focused beat, and you will actually hear what I'm talking about in action here. So now I'm going to show you a composition example showing minimalists and four focus in action. So the main thing here, as you can see you start away, is that I do not have anything in the harmonic group with melodic reports. It's simply percussion with the rhythmic section and ah based section. So let's take a listen first and then we will dissect it. Playing in 321 I think price. That was minimalism for focused, which is kind of related to the contrast for power guide on, because when you have a more minimal arrangement of your parts, meaning there's basically list notes going on in the greed and you lay your mawr so you have silence in between that air in between the notes actually adds more controls, but more importantly, it adds more focused. So this is about minimalism for focus, which is why I don't have any harmonic or menelik elements. And if you go into let's start with the rhythm section here, check this out. For example, here is only on one note is very little harmonic movement going on. So this is only the F here all the way through. This is going the route note, basically, or the chord chord progression. There is really no chord progression here. It's the roof basically going, and it's also mimicked here as you can see in the base. So if we listen to only the rhythm section first and I will ah select also, you can see what's going on at the same time, this is the base notes based rings. And then what is it? Chills and violas. And I believe one of these violas, Yeah, chosen pixie counter to keep it even even mawr minimal and light in the tone. So let's select, albeit those and play as you can hear. Firstly, you have the main accented beat with the bass strings and also the hi viola pizzicato is basically a kind of pedal note, but not really pedal note. It calls the same note all throughout, and the only harmonic progression is here in the base, and the chel owes which goes changed its route notes as it goes on here. And if you check this rhythm on the base rings again to keep it really minimal, I have these and, as you can see here, basically als the same. It's just that no, that's different in this here. So basically mimicking layering while the strings does here with a percussion. So if you listen to the big drums on their own, it sounds like this very simple on the accents there. And now let's load up the short, um, bass strings here at the same time. My mom, those you can see here what's happening on the main beat. That notice different? Definitely different, but all basically all the otherwise or layered on DA. If we check here on what's happening on the rest off the percussion, you can see that the minimalism is going on here again for focus. All these are layered on the same beat. Asylums layered, layered, layered. These two your different ers. A slight variation, I think, from the Tom's here. But all in all, the percussion sounds very minimal. Let's listen to the per group here. So that's just the based big bass drums, snare and epic terms, and you can really hear the focus from the minimal rhythm. And, ah, if we check now what happens if I play only the percussion and the reading group and again check what's going on down? Don't, uh, Dan Dan Dan Dan. It's mimicking what the big drums and the epic terms dust. So without the base still here super focused, you can really see the main accents here. And what about the base? Well, let's take a look. What does this all based do here? So it Pam Pam, Pam well recognized that pattern. It's the same as the big drums here. If I like both of those, you see it this life variation there but basically the same. So we have a synth bass on. Then I used a low bad. This is a bit different because I just called the root note for a slightly longer. If you check their salt here so you can see it's just a root note off the progression. So the base group Let's see if you play only the base. Okay, so you don't see because of that. But, um, that is putting this silence silence So that lays looked off air in between to create that minimalism and focus and listen to both of these basis since base and subjects. And let's at the main percussion to it some Syncopation or difference there in the group. But you really hear that clearly focus and accented beat there. So the based group on its own without the drums, it just adds that low went to the main accents. And again, a lee all I know you get that crystal clear focus from these minimal, uh, violets. Look at everything in the piano roll as we play through again. These are older notes, does it. So you can, of course, lay arm. Or, if you want, Teoh, the main point for this minimalism. For focus guideline, it's air in between the notes. Make sure that your accents and the main groove is super much respected by layering those beads instead of adding too much Syncopation and too much feels and too much other kinds of rhythms that, like intertwine, make them one coherent main rhythm that is super much in focus. 9. Asssignment - Practice the Guidelines: Now it is up to you to take action and learn. By doing so. Start up your D A. W and do the following one. Create a group of tracks for percussion and for rhythms. You can skip the harmonic and melodic instruments. Since your main practice focus here is on the energy survive intensity, power, etcetera over the music To practice all guidelines. Learning guidelines is one thing, but the most powerful way of improving your skills and craft is by practicing and implementing what you learn. So go ahead now and practice each off the main guidelines you have learned about cinematic action music, using the instruments and sounds you just created in your percussion and rhythm groups in your DW. Good luck and have fun improving your composer skills and craft by actionable learning. 10. Live Example - Dark Action Thriller: This is live example off cinematic action music is called dork action thriller because, well, honestly, I was kind of inspired off the Dark Knight sound fact wanting that dork atmospheric pals invited with high intensity. So let's take a listen through it first and then dissected group by group playing in 321 - Right ? So let's start the FX group first. So the only thing I have here is actually these final, though impact you need headphones or subwoofers to really hear that. So that is on the ending. Cadences there, though. Let's continue right away with the percussion group. So again, driving with big drums I actually don't have any drums on damage or Magainin patching this I see now. So the main big drums is playing this so kind of a pals on its own. And if we stack the Tyco's on top of it, let's listen to those on its own first. So here we have it. By the way, if you hear a kind of a strange group, that is because this is actually in 54 words that time signature. So if we take a look here, you can see if we assume in. We have Ah 12345 and then bore 45 here. So five beats per measure. And that adds look to detention and energy off this action track. So the big rooms here or played action strikes. Giant drums are also in the second part. Include acoustic drank it just the stock drum kit in logic here to really intensify the beat and then Tyco's or hear Tiger creator. So those together also, this is in 170 bpm, which is really high. So if we add this stick it Ah, that is damage, I think or will getim patch. You also heard that little fill in the end there, Let's say, Was it the equals? Yes, that they did that which is the cool way to have I. I usually add something every other body filled up in some some instrument on da Then we have the Cymbal crashes. This is just addictive rum symbols The simple swells from suspended symbols away this factory again here going to the next section and also in the end here. So and he also heard, like drop out in the end where I only have their sticks and then the symbols, well, going into the cadence there. So all in all we have the percussive rhythm. And by the way, let's check the or the drums here. I believe I have it again, as I always very often do is cut the end the low end off the drum kit, because I want to have the big drums cut through there in the mix. So if you like, said no to this on its own, it's basically more of a mid range kind of sounds of listen, go here. The simple swell Going into the second part where the acoustic drum kit comes in, it really increases the energy. Let's see. Here's something else here. Why do I hear the rhythm? Let's meet that for no. So if you check what's going on here in on Lee the percussion off this section Ah, there also the first part. I accidentally got that, but anyway, it looks kind of a lot, but to go closer, most sticks up here. The accents you can clearly see, they're so it might look like a lot. But if you go in, you see that the main accents and the tigers are really the fundamental off this group. Everything else just fills it up. So, like so So that is the percussion. Next, let's move on to the rhythm section. So in the rhythm section, I actually have some sounds here from openess Fear. That's just, for example, this is a rhythmic ticked like a palace ing things. So if you look here on the piano roll, it looks like long sustained notes. But when you listen to it on its own, So it's basically a arpeggio hated rhythm here on a high, shimmering, ticking sound, which is great for cinematic action, music and thrillers and tension and stuff like that. And I have another one over here just called rhythmic pulse, which is another passion in the same vein and out as you can hear so together, those actually add that modern hybrid touch, which is very popular. Andi can clearly here in the Dark Knight movies and stuff like that, but that's not the main grid than the main rhythm we can listen to. First played here by these shops like at the Strings again from Venice, modern strings with a sporting close mikes, only to get this and they come out in this coming in the second part on you hear? You hear, you can hear the dark knight influence with the chromatic step of the seven. Lt or TT tt seven out, seven out. Seven. Old seminal That is so high tension through the progression there. Andi, if we continue with what? See, what else did we have? Rhythmic, Particularly powers. Oh, I have another one of these policies here I can see which I guess called only rhythm. Let me see what that is. Yeah, so you can find lots of these in the or DPM patches or simply create one yourself with the AARP educators. So this sounds like this. The cool thing about these kind of ticking pulsing or projected things gated things is that you can simply joe out the notes for every court changed. Just the root, and you will have something that is very high tension and driving energy instantly. Now let's go on to the accents played by the bass strings here. Ah, let's see what we have whips. I meant that one is the noble strings. Again. It's close that and let's check what they play here. So it's Oak Chaves. Now the main accents, which I believe is played by the big drums. A swell Let's listen to the big drums on the base rings at the same time. Can I get that that one and that one like so? So here is the big drums Here have the are called are called two strings based rings there . Um then if we check the next one which is lush strings, cinematic strings, full ensemble patch just because I like you layer it with amore lush base on You can also hear if we get into on check the automation here you can see it up the modulation increasing here. So the base, these bays actually increases intensity from kind of low with the beginning to the very, very, very accented in the second part. Then for the Chelios again cinematic strings to here I have it would shake this at the same time. Yes. Again, the semi note kind of dramatic steps playing is excited. Different rhythm than these ones over here. Ah, open up that again. So it together the first main rhythms Ah, strings there. And the chill owes a bit basically many of the notes are layered, but you have some Syncopation here, very dissonant intervals as it can here, which really adds to the action and tension vibe. Then going up to the high strings. We have the violence short here, played by somatic strings again, our first violence on Let's see if we this was stuck out. So I think, um so what do they play? Basically the same asked. The chill owes. But with this double note, like your I double every note with the lower velocities. So if assuming here you can see it's a double note. 16th note. Just offering. So it's crazy. It's stuttering. Didi, Didi, Didi stuttering feel and lay with the Chelios. No, I think it's actually layered with this kind of hard to hear in context with the other strings, because it's lower. But it really adds that attention in the high end. And then I have some pittsy cattles playing violence, too, just to add some more focused to the beginning off these notes and then some breasts here, which is played by four. So on the staccato notes we'll see what we have. So do we have here? Ah, just a root note just a root note of the progression there. So, you know, the rhythm section sounds like this way, that way, then ending there. Moving on to the low end group where I have the baseline again with sub base just from trillion minimal deep cream preset baseline CS 80. Big warm. So these are the same sounds I used in a previous life. Examples Three or three based on here, Layered. Let's see what we have. Um, What does it sound like? Well, let's check this sound first. Actually, we have low strings here from a flotus lush strings keys. Which leg? Otto, But playing, of course, in the low range. Jessica NSI here. So actually, these aren't palaces. This is just the low end as super long the gotta notes here, basically, just filling up that low end with high energy and power. Not really energy about about power and authority. And then for the backing group, let's see what I have here. This stuff soft strings, which is a Hollywood studio string section in all, Miss Fear playing with C basically harmonists here. So what does that sound like? See? Oh, and at the same time I here I have this stool test. Oh, strings here, filling up the shimmer in the high end, which is Bennis Modern strings so tossed. Oh, Onda. Um, together, they really have that eerie attention quality. Again, the semi note chromatic step here, here and here and here on here. But one of my favorites way ways of adding tension is using the seminal to step interval eso that is the back section and for the ending. Well, you heard I used only the sticks. This, um symbol swell. And then with the big hit on the big drums, the tiger at the same time. Cymbal crash. Um, what did we have on the rhythms down below here? Yeah, just the more culture base. Ah, lost rings, base baseline, low strings based and even piano. Note. I forgot about that. Are starting some focus to the ending note there. So going from here. So all in, all in context. Ah, let's see if we can assume into everything and listen to Onley. This part here played from here, but I want to sue meanness. You can actually see what's going on as much as possible anyway, right? Playing in 321 rights That Waas dork action thriller 11. Live Example - Engines of Fire: all right. So this is a live example of his cinematic action music composition that I call endedness of fire. So let's play through first. It's short, but it is fully orchestrated and complete. So offer I played it through. We will go through each off The groups here on the different instruments and sounds are used, ah, to create this track. So playing in 321 no, - and a very powerful ending the arrest IQ into here. All right, so let's first take a look if I select everything and like looking in the piano roll to show all media. I have two audio tracks here which will not be shown, but otherwise I think everything will be included, so it might look pretty crowded. But as you can see, the results off short notes, lots and lots of them, which are basically showing how much of an action and energy type track is really is because these are either percussion palaces, baselines, ostinato, strings, stabs and so one on you can see it's basically crowded all over the place, and that is one off the and, ah, signs off a cinematic action music track or any action music really lots off rhythm and up here you see the main melody, the leading melody. I often recommend that used to really, milady higher up in the range and even consider doubling it up here in the highest range. So it is doubled, let's say, the leading melodious somewhere here and then doubled higher with second violence or something to really make it cut through in the mix and the same in the low end. Here we have the baseline on strings, I think, and it's actually doubled to be the a baseline synth bass line, which playing your pals off the main beat, Um, sometimes an oak table over here, sometimes enough to the higher. But basically the baseline should be very much in focus. That or the bay, the low end on the high end as well. But the most important thing for action music is all these short nose percussion rhythms, pulses and such things, right? So let's diving through each off these mixing groups. So first we have these effects group where I have included I think this is boom low boom to really mark the ending, it's gonna hear, hear their on, then also a riser effect. These are on the This is an old you filed, by the way from a ricer sound. If expect that I created myself on the booms or from what's opening up and see, I think it's gravity by heavy. Also do so you have various different dooms here that you can choose from, so that's basically it for the effects. Now one of the most important things for action music is, of course, the percussion. So let's listen on Lee on the percussion group This soul in these will actually so low all of the percussive tracks here. So let's take a listen. - Nice . So that is the percussion track. The main percussion I have is this track here which basically place, Ah, the main accents. I think that is on a big drums. Let me put this up so I can see it. Yep, this is from damage the Armageddon ensemble patch. So let's take a listen. Onley that I think I can do actually added a fat effect to reduce some of the high end to make it really cut through. If I remove that because I wanted more low and boost and I want other percussive instruments to take care off the middle and high range than I have some big drums here, which are basically the main accent, though. Yeah, these are the main accents played home action strikes, giant drums. Also fat effects, which basically is saturation based enhancer compressor. Lots of these things in one Pugin, but you can basically think of these is boosting saturation and compression, some distortion and some filtering off the high end and, as you can see, a C Super sports as he should have it on the lowest percussion. But I have Tyco's taking care off some of the mid range. I think like so and then some Tom's in the second part off the track, which goes up in energy. I wanted to have some feels charms are grateful, feels so if we take a look at this, can I see hello like that? As you can see, it's only feeling out the ending these bars here like this so the simple it'll fill their sticks or great sticks, clicks and tick talks and sounds like that are great for adding energy. If you use it in the kind of a faster rhythm, so It sounds like this from secret patient, as you can hear there as well. Um, and they also adds loss of energy because lighter or shorter sounds like clicky, sticky sounds or, naturally, mawr, energetic because they are lighter and quicker basically compared to, for example, symbols without which had energy. But not really. Are they at power on intensity but not really energetic? So listen, just have that owned them. Some of the most important board changes the night also included symbol swells right here before the second part on into the ending like this, or is yes and one no than then modulation to increase the dynamics like this going into the Cymbal crash. And then finally a shaker, which changes pattern. So let's see. This is suspended symbols. No, it's this is see Shimmer, shake, strike. Let's see, the This is, um, suspended symbols. The crashes off from addictive drums, which I have modified added some plate reverb, supercharger, some compression and and warm character and saturation to beef them up. The sticks are from damage. I think they are from the Armageddon in sambal kit. Ah, let's see the toms. Did I check those also from damage studio Tom's Steak. I actually damages one of my favorite percussion plug ins, ISMM or hybrid sound, to sign on processed compared to natural orchestral percussion. But for action music, this works really great. So the shaker is simply some patterns playing. So I change patterns as you could see here and then again. Now here, as you can hear shakers, shakers and stick clicks, take talks kind of stuff, sounds or one of the greatest ways to have fast rhythms that really, really add energy if I go back and listen to what happens when we go into here only on the percussion. So listen now. Lots of Mawr energy just from introducing those shakers and clicks and sticks. All right, let's go on to the rhythm group. So, of course, the freedom should mimic or respect the main groove, the main beat and the main accents as to all other instruments. But it's really important for the for the freedom. So I have. The main rhythm track is short staccato strings from Venice, modern strings, which I just got. I really liked that you could have a spot Mike, which really makes them super short. So if we listen to it and we can shake the piano roll at the same time was Just listen to that for now on, but we'll see if you can see everything here. We can see the main accents, which are, I think, or mimicking the main beat in the and big drums, then, is some harmonic progression here. So let's take a listen to only with shops. Take out the strings. Beat way, go into the next port here. So that is pride in the main groove. And if we listen to that on its own with the percussion, so you can I do like this. You can hear that the main accidents off the staccato strings or respecting the main accents off the percussion that is a super important for action music. Then we have basis strings, short strings coming in all that. The later part because it's always good to be able to add even more energy in the high end , in the lower and even midrange whatever. So this Ah, these are playing the main accents as well, with a couple of other knows, I hear so some single patient let's do that together with the shops I got strings like so take a look of them together. Yes. You see some extra notes here on the other note. Every other note here offer the main accents. It's actually much lower in velocities. Take a listen again so you can see just add some, almost like an echo Ellipse. Yes, debase rings. So if I assuming you can see that the velocity difference is quite big here to really make sure those are more off Vanecko I think those are layered with these lush strings. Ah, let's see, the is what I use here low ensemble from Nova Modern strings And then we have here luscious strings. I think it's yes, cinematic strings to because I wanted board because ah, well, it has more lush character, more whole recording. So listen to this. See, if we consume in, I don't want the entire track like that, right? Same way as the base rings and you can hear much more lush sound. But together really this sharper, more focused on with the, um, more laughter sound. And also, as you can see, both of these are layering octaves, which is a really good practice for low London basis. again with the percussion so really respecting the main groove they're going on. We have the short shallows which are playing more like a fastest in order line. Ah, almost an overpaid you, actually. So let's take a listen to that. But first, let's see what instrument we have. Somatic strings to sell. Oh, patch right. And then it continues to the second part there. And that really asked because these are only basically the May accents. So these actually takes care of the drive energy and well makes it more interesting. But if you take a look here, the main accidents in most cases here are already accented with velocity. The dynamics of the Chelios. What story? There Violas are also doing the same kind off arpeggio. So I think this is me making the chills. But an octave higher on that is something you should always consider. Sort about that I don't know why it stuck the note There is to layer, um, an octave above. If you really want something to have more focus on, cut through in the mix layer on another instrument that's playing an octave above or below can be a really great way So the violas. I think all of these arson America strings to violence, cinematic strings to yet And here I actually have string runs and those a great to really add some sparkle sparkle energy, basically. So take a listen. Look what happens. That's a two octave run. One often run short, direct, talked about on then two octaves down. I think in the under, take a listen to the entire rhythm and you can hear, though Well, yes, yes, the strings were now. So listen to all of this from this point, So really, add some sparkle on detail there than I have for the brass. It's mostly stabs esta Kappa notes. So the main stabs here are from, let's say, four So which is one of my favorite by heavy Oh, City, one of my favorite brass plug ins. Older libraries. So it basically playing stabs on the accents. So listen to that we the percussion and you can hear as you can hear there. Um, then we have breast short here. Also full ensemble with four so and trumpets or from forces? Well, staccato. And they come in both of these second port years of take a look here basically playing stabs. This is Oh, so this is stabs in Holderness, sometimes octave. So let's take a listen to that first. So basically pulling the corporation with Harmonists So two notes all the time here and then in the ending, which I often do add some faster rhythms and then finishing with a stuck out instead of Let's see, yeah, I thought it was shorter, but anyway, ah or longer. I mean, you could do it, Marco, doing the end if you wanted to for accent there and the trumpets are basically mimicking the same pattern. But on a single don't. I generally generally more often used trumpets on single loads personally on the higher know to make it more piercing compared to just the steps here. If I had trumpets, listen what happens and no So that takes care of the higher harmony off the breast ebbs. And then finally, I have choir short Ah, with women here, which is played by Let's see Storm Quiet. Two women stuck out those So it sounds like this. Yeah, no. And I think it's also isn't me making the brass shorts. Let's say if we take both of those it is not but pretty similar. So basically playing the harmonic progression with Harmonists well, to know Thomas and in with the rhythm, let's check what the percussion does at the same time. So the pro Kachin plus the choir so the main accents. They are really low compared to the percussion because I don't really want the required to be to present in the mix. So that's it for the rhythm group. Let's take a look at the complete rhythm on the rhythm, not percussion. How it looks in the piano roll Suman. So this is the rhythm. Ah, in fact, let's do you play through off on Lee the rhythm by looking at the funeral way. Let's move on to the low end or based group, whatever you want to call it. So the main baseline iss basically sub bases seems base and a three year three bass played as one um so let's take a listen to that so it looks like this. So it's basically ah, the main accents on Baby, I think this is mimicking the low strings. Where do we have them? This kind of live here, but in with a baseline so Let's listen to that. Yep. So pretty low in the mix. Just have some polls in the low end. Um and then I have low strings and low breasts in unison. And those play the baseline, but with long sustained notes. So, like, this kind of low in the makes us well, because I don't want to overwhelm the low end. So in total duo win sounds like this, but one important factories we've go in here and take a look at first velocity. But more importantly, here is the dynamic curve of the base, which increasing, increasing. So it actually is higher here. Safe can play here, and then it gets higher and higher throughout this section or each operation out there. So let's take a final look at what we have here in the baseline. So this is the same note, of course, but an octave Ah, I think. Let's see if we can play. Yeah, so that's hidden behind. But basically here since unison here, Subasic here of the pulse here, while the strings and brass bases in octave higher. There's units and again, some variation there, but basically it's pretty simple moving on to the back group, which I could wish which are playing. Let's see how it sounds like it's on Lee played by soft strings. Um, enormous fair, by the way, let's take a look at the low end first. What instruments did I use here? So the Sabbath is all nous. Fear of U sub base patch baseline from almost here, too. It's the, um CS 80 big and warm, the sub basis cold to your minimum of deep cream from trillion, in fact. And then I have this three or three sint foresee on baseline from the 16 groups without to take care of the baseline, the low strings or from a flotus lush strings. Basically full strings patch. But I played in low end and the low brasses from four. So is to bus right, so that's the low end instruments. Now get back to the back group where I have a soft strings, which is basically India acoustic pad hold would studio string section and then sells tusk two strings really soft, delicate strings as a so tastic articulation from Venice. Modern strings. So these just playing the core progression in Harmonists Onley two notes. At the same time, more of a background pad, that kind of thing while and it is. I think this is a mimic tear. Let's take a look, an octave indifference. But so task to here. Let's bring in the so strings again. So it adds that high, she mirroring delicate touch to it. That's the back groups to pretty simple. The front is basically the leading melody played on strings. Let's take a look at what we have. Ah, flatters lush strings keys which patch here, which plays like this. And I have, of course, which is really important modulation for the dynamics here. So and I also have ah difference between depending on what velocity level I have on the notes plays like this on its layer. It's layered with breasts from four. So again cuts out four. So breast fooling samba patch. So all in all, both of themselves, like this. You hear it? Yep. It fills up the depth there in the front, and so that's the front group. Finally, I have a group where I have an entire orchestral set up. What did I use here in this case? Well, I have a piano pash actually playing the leading melodies Samos the strings as to just hurt . So it sounds like this, and it is from addictive key studio Grand Pash. And if we take a listen to that with the front group, so it basically adds some focus in the melody. And then I have some harmonies on the chill owes. Actually, now that I hear it, it sounds like it's playing a unison or the melody or unoccupied blow. Yeah, it's unison just feeling it up to make it thicker. Layering is always important that I have second violence, also an octave higher. So again, simple but melody. But together it really builds up that from bones as well. On then high f have Ah, let's see what we have here. The cello saw from cinematic strings to the first violins, synthetic strings to second violins are flatters seeing a move Violins, lo gatto and from bones from yep for so you guessed it. I think the second violence or no, they play the same thing. And then in the end of the melody, I have, ah, basic. It's actually somewhat important because take a listen to what happens. I go from Low Goto to let's see these staccato notes in the NSO. Listen from here, some clicking there from my computer. But basically that is what the percussion and rhythm group does this well in the end here. So listen from here that so that is the orchestral group and all together again. It might look like much, but now that if seeing the end result and seen everything, it goes together well because they respect the rhythm, the main accents. The main beat is always respected throughout the composition, with all the notes, even the melodic notes. You can, for example, include the main accents to make sure of those arm or elevated in the mix, that's engines off fire for you. 12. Live Example - Stronger than Steel: this cinematic action music example I call Stronger Than Steel Onda. It's actually a very high contrast in the first section. Go to this show, drop here and then full own action over here. So let's take a listen first and then dive in through each of these sections. Playing in 321 All right, so let's start by checking out the entire arrangement in the piano roll editor. So let's see how much we consuming. Like So, um, again, Here you see the big contrast super focused, be tear with it like a dropping between. I have a kind of drone here, something I don't remember if this is a based hit or something. But you can clearly hear that that at that up we got that at that, have we? And then the drop, um, and then going into super High, an intersection where I had lots of percussion. So let's go through it. Ah, one by one, Let's open up the fix section first on Dhere. I have yet it was booms in between. So these sounds basically kind of sub drop booms really characteristic sound and in the end , kind of an impact there to mark the ending. And then here I have a downer effect with subgroup basically like so in one octave subgroup . That's the effects section now. The most important in actual music, as always, is the percussion. So first, the epic ah, drums. Let's see. We can bring those out, which is damaged. Armageddon is Selma patches. Always. Then I have an acoustic drum kit here from actually the logic drunken designer Onda Um Then I have the big drums, which is giant promise from action strikes Tyco's or from the Sea. Tyco Creator. A really cool plug in for designing your own Tyco kit. Then I have, like a pals from cinematic guitars. Infinity here. So it's basically one note holding here where are born it? And then it creates the pulsed. When I have these Tom's from the damage against EU Tom's stick. Ah, and there's some steaks from damage again. Cymbal crashes from addictive drums, too. On this, this is Shaker from Schumer say shake strike. So that's Ah, what's easier? Minutes and sounds are used here. Let's take a listen now to the main accidents first, which creates basically the fundamental beat like so and then the big drums really marks the main accents together with the epic drums. Then let's stack on the Tyco's. It was really the epic drums from Damage with the big drums for the main accidents, and the titles here creates the main beat. Like so on, you can hear it super focused because it has a breeze off air in between There for every other bar. Of course, Cymbal crashes like so on. Most every fourth board seems here, except the ending there. And then the swells. They're going into the second bar, basically swells or, like adviser great for introducing a new section on. Then these shakers just adding some extra. I drive to their on. If we go into the track, Inspector, who can see? Hear that I have a fat effects to fatten up and the main drum make it, uh, basically more beefy. Have it on the big drums as well. Um, let's see on where it's the groove track. Didn't I have a good track? Oh, come on, the wrong. We're over here, So let's take a listen to what that does. This is the cinematic towards infinity, A rhythmic loop like so and then it goes full on in the second time there, and Tom's comes in where the fill in the drop basically spicing up the groove there than the stick. It's here. What kind of syncopated 16th note. Ah, pattern you see here and then the Cymbal crashes, which comes in. It's not actually in the first part because I wanted heard high, shimmering energy in the second part. And, of course, the State Shaker then. So let's listen to all the percussion whips again. Here we are. Listen to that focus, basically layering everything, and then this is now the on. Especially if we add the Sabra appear, you will get the focus on the big drop on. As you can hear, the acoustic drums comes in, by the way, here, first with the field and why does it sound? So thing you might ask? It's because look at this. What I done it cut everything from 200 herds with the 24 db per octave cut their why? Well, because I already have low drums. I don't want to stack those. I just want to add some more complex energy. If I remove that and played from here now, doesn't have nearly the energy as with the accusing drum kit playing this fast rhythm here . So let's take a look at the Christie grounds, by the way, especially these ride Cymbal pattern here created lots of energy. All right. Moving on to the rhythm section where we first have the main a staccato pattern here with Venice, modern strings sport and close mikes on Lee To really get that short sounds if I can wait on its own on Did you see the air in between the notes here? So these are actually the main accents on the big percussion. If I bring that up again, especially these big drums here. If we take a look at those at the same time as this, you see those three accents there and then those two or mimicked here on the higher strings , that's what you how you get focus and energy and power stacking at the same on the same beats eso that's the rhythm. And then it goes mawr because here you have the air in between. And then after the drop, it goes all in with this. The main beat here, then some a eight notes here and then this pattern Here you hear those chromatic intervals which really adds tension and energy. Then we have the base short strings played by Noval Low insolvable strings Great focused, more co toes. So again, the main beat You see it here? Let's see Which one is it? I still hear the percussion. I only want to hear with bass strings like so but again down. But Dad and that is the main beat in the low percussion on that is layered with shell shallows from cinematic strings to so is if you check here is just a knock Dave above But it really adds to the focus. Then what takes over is actually violas and violins for the second section Because I wanted to go up higher with more energy here. So these are also cinematic strings. Both of them, Um, if we go there and take a look at those two at the same time late in Oak saves on these chromatic tt tt TT Let's take a listen to it at the same time. So that's semi note Interval the chromatic step There really abstention, especially if you listen to the shops. I got the strangest, which plays more fuller Beach. So all of these together really high tension, which is great for cinematic action music. Then I for the brass, I have the breast rhythms. I have these steps, which is four. So it's for Sato. Articulation, Onda trumpets or stock. Otto's also form from four. So and they may make the same s the chill owes and based rings, I believe so. Let's take a listen to them. Yeah, so those are Let's now for sun the accent and the trumpets Only the high note Oh, that was really low. I could probably increase that. But anyway, together and here they get me with more intense and are actually different. So let's take a listen to them on you See here stated that semi note. Ah, step here again. We're layered with the violas, violence and short strings to really create attention. Um, that is it for the rhythm section. Let's move on to the low end on where I only have this baseline. So no strings or anything. It just the sub base from trillion. This patch, the baseline from almost heresy is 80 big and warm, and this three or three Foshan, all of those they year together, which creates this. And of course it is the main accents, which you heard from the big drums on the low strings earlier earlier, and in the back from Europe, I actually only have these pad, which is a string pad from Novo. Ah, very. I think it's a rhythmic, passionless listen, which really adds a lot of atmosphere. If you especially you don't really hear that much in them. The big contrasts focus section. But when those drop out and leave air, you've really hear it in the mix, which adds atmosphere. I could probably if I wanted you. It seems they are. It's not really that audible. I could cut it up and Onley have it in every other bore where there is silence. I should probably do that by, but I just give you that as a tip now is that and I actually have it in the end as well as the finishing line, because it's becoming like a characteristic sound off the atmosphere off the track. So that is it. Let's take all this final listen through the track while we check the piano roll to see what's going on in here. Can I still be in a bit more like So? I wonder if I can actually assuming. And it will follow like this Playing in 321 All right. So that Waas Ah, what it called stronger than steel. And also, if you want to know, it's in a minor, let's say And the temple here is 1 40 The previous one was 1 50 But as always, how you play is also very important. So the high energy section here with a super fast percussion really makes the second port super energetic and action character while still on Lee having 140 bpm. 13. Your Assignment - 16 Bars of Music: it is action time again, my friends. So start up your D A. W and do the following one. Treat a complete sound palette. Four. Cinematic action music and focus, especially on the percussion and all rhythmic ports like Austin auto strings, breast stabs, pulses or pidio owes. And any rhythmic and comping sounds too composed a 16 bore action music track. Instead of diving into a full composition straightaway, I find that it can be great to compose short but very focused tracks in his specific style . This way you don't have to worry about arrangement, variation, chord changes and progressions. Etcetera simply focused on creating a 16 bore full on cinematic action music track, including a really ending I Wish You All Good Luck and Great Fun composing cinematic action music.